Renaud Regnery - Klemm's

PRINZESSINNENSTRASSE 29

10969 BERLIN

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Renaud Regnery

Vam, 2020, plaster and acrylic on wall-paper passed on linen, 160 x 110 cm.

Renaud Regnery

LOKALKOLORIT, 2020, installation view at Klemm‘s, Berlin.

Renaud Regnery

Vrach, 2019, plaster and oil on wallpaper passed on linen, 200x135cm.

Renaud Regnery

Spal, 2019, vinyl paint and urethane on wallpaper on linen, 200 x 130 cm.

Renaud Regnery

LOCKVOGEL, 2019, installation view at Oldenburger Kunstverein. Photo: Roman März.

Renaud Regnery

Palisade Paintings, 2017, installation view

Renaud Regnery

Palisade Painting #3, 2018 , wall-paper on canvas, wodden frame, 180 x 50 × 25 cm

Renaud Regnery

Palisade Painting #7, 2018 , wall-paper on canvas, wodden frame, 60 x 30 × 30 cm

Renaud Regnery

OIL PAPER PAINTINGS -- OPP #7, 2018, wax paper passed on linen, 130 x 90 cm

Renaud Regnery

OIL PAPER PAINTINGS -- OPP #10 , 2018, wax paper passed on linen, 100 x 65 cm

Renaud Regnery

PKPNTG - VB #6, 2016, paper on canvas, 245 x 180 cm

Renaud Regnery

Tatem und Tobu, 2016, exhibition view at KLEMM‘S, Berlin

Renaud Regnery

PKPNTG - VB #4, 2016, paper on canvas, 245 x 180 cm

Renaud Regnery

PKPNT - #5, 2016, paper on canvas, 245 x 180 cm

Renaud Regnery

FTPTG 4, 2016, wallpaper from the 30s on canvas, 190 x 135 cm

Renaud Regnery

FTPTG 6, 2016, wallpaper from the 30s on canvas, 100 x 70 cm

Renaud Regnery

The visual concepts of Renaud Regnery’s current exhibition seem familiar without our recognizing them: large format, monochromatic surfaces in pink with minimal, gestural touches, behind them strict grid paintings in various formats that reveal optical traces of the geo-metric and reminiscences of constructive modernist painting. What at first seems like an especially refined ensemble of the antagonists of abstract, conceptual painting in the very next moment develops into a cluster of references that goes beyond any semblance of an updating of painterly codes and conventions or a corresponding critique of them.

As the exhibition title already suggests, numerous moments of displacement inhere within the formally different seeming series of works. The supposedly homogenous picture surfaces when seen up close reveal themselves to be wallpapered strips, whose color- to-shape relationship is defined by precisely controlled relations of pictorial format, selection of industrial mass product, and adhesive stripes.

The supposedly geometric abstractions (FTPGS) are based on visual materializations of original American wallpaper printed in the 1930s during the Great Depression in trompe l’œil fashion with tile patterns to simulate scrub-resistant tile walls, contributing to the aesthetic-zation of everyday life in as economic a way as possible. The work group (PKPTGS) feeds in contrast from pink died plotter paper in a machine format as used today for print advertising, everyday office life, or in sketches. To that extent, the subtle, expressive-suggestive markings result in these largely technically-assembled works not from subjective painterly gestures, but from literally handmade and coinci-dental seeming imprints, streaks, and scratches, in brief, from work activities, that basically could be enacted by anyone—but actually this is only true in a limited sense.

The works do not submit to modern patterns or the self-referential order, but they appear autonomous of their context, to then again be captured by their origin and their history. While the wallpaper pat-terns become image are still bound by their material makeup to their former use and as yellowing color nuances reveal the time that has passed, the monochromatic pink pictures are quite programmatically placed in the here and now. For there is hardly another color that evokes such a powerful automatic association of successfully circu-lated visual worlds of commodities, optical key stimuli, and cliché-like stereotypes.

The affective signal impact of the pink tableaus is not enduring, and its fleetingness is indeed intentional. Under the influence of light, the works will change their aesthetic appearance over the course of time to a certain extent. And as linkages on the visual surface to product design, decoration, advertising, and the omnipresent aestheticizaiton of realms of our lives take shape, they conversely also reveal ever new modifications with a dynamic all their own.

What remains are various intensities of image. The referential diversi-ty is thus not the only determining pictorial determinate in Regnery’s works; this is insured merely by the playful seriality of the two work cycles.

The works are a performance of their own materiality and emergence, and are pictures and transitions at the same time. As such, they dock on to spaces beyond the visual surface, to social relations, to our everyday experiences and our affective habits of vision and desire.

Birgit Effinger 2016 (translated by Brian Currid)

Renaud Regnery

Renaud Regnery

No Nose Job, 2015, uv print and rust on geometrical wallpaper from the 1970s passed on canvas, 60 x 50 cm

Renaud Regnery

Stretch, 2015, uv print and lacquer and sand on wallpaper on canvas, 190 x 135 cm

Snake Painting ‚3, 2014, rusted iron and alkyd lacquer on partially burned wallpaper on canvas, 190 x 135 cm

Renaud Regnery

Snake Painting #4, 2014, rusted iron and alkyd lacquer on partially burned wallpaper on canvas, 190 x 135 cm

Renaud Regnery

Half Moon – VB Copy 1, 2014, iron dust, rust, spray paint, polyurethane and pigments on Xerox print on canvas, 248,9 x 167,6 cm

Renaud Regnery

Half Moon - S copy 1, 2014, iron dust, spray paint, polyurethane and pigments on Xerox print on canvas, 180,3 x 134,6 cm

Renaud Regnery

Renaud Regnerys’ works comprehend painting as a field full of tensi-on, which on the one hand evokes the confrontation within the history of the medium and the discussion connected to it, and at the same time holds possibilities of (self-)assertion and allocation. Connected to this is his interest in dealing with inherited, social conventions, their aesthetic manifestations and psychological questions.

As part of his artistic method, Regnery incorporates a view of creativity informed in part by the recently revived theories of French philosopher Gilbert Simondon (1924 –1989), pertaining to a vital individuation as a leap in which matter, in turn, informs the mind, making artists more collaborators with their chosen media than its initiators, thereby joining all of art’s constituent elements into overlap-ping images of a continuous system of dynamic becoming. This is re-flected in his choice of themes as well as in the used technique and specifically employed materials. Earlier series elaborate on phenome-na of language, sign, and understanding by means of a multilayered, opaque manner of painting that only flashes on bits of meaning and wording on the edges.

His recent mediations in painting interfere with direct signification, in-corporating the trauma of nostalgia with the proliferation of meanings generated by the ubiquitious digital culture. Regnery‘s radical stra-tegies challenge reflexes of visual recognition, framing analog matter amid the proliferation of digital information as contemporary aesthetic reality – as information builds and accumulates, it is simultaneously lost. Regnery relies on the metaphoric, subconscious structure of the ‘palimpsest’ as a way to incorporate different times and velocities in his works:

“My collaged paintings join these elementary practices together with the use of computer layering and modeling software to compound and challenge cultural references, associations, and signifiers seen through the lens of the digital age of ambiguity in which we live.”

Regnery’s work examines the uncontainable corruption of knowledge and potentials within the information feedback loop to reveal complex elements about changing historical meanings in the human psyche. As a result, one is confronted with different textures, retouched surfaces and traces of printing techniques. There are burnings, abra-sions and other lesions that are part of the foundation of the painting that can be clearly distinguished: ‘wallpaper’ becomes in its patterns and grids, its textures and surfaces the pivotal element in his working process.

The decision to use wallpaper as ‘material’, furthermore to use pro-ducts from the 70’s up to now, highlights an interest that transcends the mere aesthetic aspect. ‘Wallpaper’ turns here into a signifier that defines an existence positioned between simple adornment of walls and expression of a certain aesthetic sense, a habitual preference – “joining interior (psychic) and exterior (collective) individuations the realm of the ‘private’ intersects with the impression of the mass product. Regnery considers each wallpaper to constitute a particular-ly useful representation of an established state of being that he then merges with others, such as scanned images of his fingers manipula-ting his iPhone.” (R. Hobbs, artist publication R. Regnery: VietCong, 2013)

He regards the commercially produced wallpaper-material as spe-cialized examples of a technological becoming. This becoming as-sumes a highly conventionalized and yet, eminently ideological mode, capable of documenting, in an exceedingly decorative format, some of the most acculturated feelings from a particular time period.

“The patterns used in recent paintings suggest a certain bourgeois coziness that is gesturally dirtied, as it were, through the painting process. Yet we find the Gelsenkirch Baroque, as in Sigmar Polke’s

Renaud Regnery

earlier works, less evident than the glitter world of ‘70s disco sounds. What earlier radiated a techno-futuristic élan seems as nostalgic as Biedermeier today. The intertwining of the paint and material layers in Renaud Regnery’s images also embody layers of time: the frag-mentary traces of memory.” (L. Seyfarth, cat. Gestohlene Gesten / Kunsthalle Nürnberg)

This ‘fragmented character’ also reflects in his way of working as it sets the stage for a number of competing possible compositional options (states of being) on the computer not only for each layer but also for the overall completed work, which pulls these elements together into a qualitative whole.

Viet Cong, 2013, exhibition view at KLEMM‘S, Berlin

Renaud Regnery

Sling, 2013, holographic foil on wallpaper on canvas, 230 x 180 cm

Renaud Regnery

TV I, 2013, puffing ink on partially burned wallpaper on canvas, 230 x 160 cm

Renaud Regnery

Vovinam, 2013, rust, alkyd lacquer and sand on wallpaper on canvas, 230 x 170 cm

Renaud Regnery

2013, exhibition view at Private Collection, Cidra

Renaud Regnery

Bermuda, 2013, rust, polyurethane lacquer, pigments and glass beads on wallcovering canvas, 241,3 x 195,6 cm

Renaud Regnery

Caribou Lou, 2013, copper, sand, vinyl paint and paper on canvas, 241.3 x 185.4 cm

Renaud Regnery

Gestohlene Gesten, 2013, exhibition view at Kunsthaus Nürnberg

Renaud Regnery

Triple Trouble: Closer, 2012, vinyl paint on partially burned wallpaper on canvas, 200 x 150 cm

Renaud Regnery

Yurei, 2012, alkyd lacquer, vinyl paint, pigments and paper on partially burned wallpaper on canvas, 160 x 130 cm

Renaud Regnery

Triple Finger XII, 2012, silkscreen print and vinyl paint on partially burned wallpaper on canvas, 170 x 135 cm

Renaud Regnery

New Deal, 2012, exhibition view at Elizabeth Dee Gallery, New York

Renaud Regnery

Java, 2012, vinyl paint and acrylic lacquer on wallpaper on canvas, 200 x 150 cm

Renaud Regnery

Rokurokubi I, 2012, alkyd lacquer, acrylic lacquer, spray paint, vinyl paint, pigments and sulfur on partially burned wallpaper on canvas, 170 x 135 cm

Renaud Regnery

Obake, 2012, rust, acrylic lacquer, pigments, chalk, pastel, pencil, and spray paint on wallpaper on canvas, 170 x 135 cm

Renaud Regnery

Triple Trouble: Fortune, 2012, Iron and rust on wallpaper on canvas, 170 x 135 cm

Renaud Regnery

Triple Finger VI, 2011, gouache on partially burned wallpaper on canvas, 170 x 135 cm

Renaud Regnery

Ritournelle, 2011, exhibition view, KLEMM‘S, Berlin

Renaud Regnery

Untitled 5, 2010, oil, silkscreen on canvas, 167 x 116 cm

Renaud Regnery

Untitled 6, 2010, pigment, acrylic lacquer, silkscreen on canvas, 167 x 116 cm

Renaud Regnery

Be Bop Kid, 2010, acrylic lacquer, spray paint and wallpaper on canvas, 210 x 200 cm

Renaud Regnery

Wallpaper paintings, 2010, exhibition view at Ricou Gallery, Brussels

Renaud Regnery

Vision Thing, 2009, acrylic lacquer on wallpaper on canvas, 150 x 135 cm

Renaud Regnery

Sympathy for the Strawberry, 2009, acrylic lacquer, spray paint, wallpaper on canvas, 160 x 150 cm

Renaud Regnery

2009, exhibition view at French Embassy, Berlin

Renaud Regnery

La oú je vais, je suis déjà, 2008, exhibition view at Le printemps de Septembre, Toulouse

Renaud Regnery

Untitled (Unwritten), 2008, oil and aluminium dust on canvas, 180 x 170 cm

Renaud Regnery

Renaud Regnery

Biography

1976born in Epinal, FR, lives and works in Berlin, DE2005-2007Post-graduate studies, Dresden Academy of Visual arts, DE

2002-2005Ecole des Beaux Arts, Paris, FR

Awards and Scholarships

2013Triangle, New York, stipend of Cultural Ministry of France

2005 - 2007DAAD - yearly scholarships for studies abroad

Collections (selection)

espacio 1414 the Berezdivin Collection, Puerto Rico / The Zabludo-wicz Art Collection, United Kingdom / A. de la Cruz, Puerto Rico / Coll. M. Lynne, USA / Collection Majerus, Luxembourg / Sammlung Haus N, Germany / Sammlung Oehmen, Germany

Exhibitions (selection)

2020What Was the Connoisseur?, Spoiler, Berlin, DELOKALKOLORIT, KLEMM‘S, Berlin, DE (s)

2019Renaud Regnery, Kunstverein Oldenburg, Oldenburg, DE (s)

2018ZERO, Galerie Jérôme Pauchant, Paris, FRTrust Your Brush, Towards Gallery, Toronto, CA

2017Interior and Collectors @Floating Worlds – 14th Biennale de Lyon, FR / Experimental Berlin, Richard Taittinger Gallery, New York, US

2016Tatem und Tobu, KLEMM‘S, Berlin, DE (s) / Anne Neukamp, Renaud Regnery, Stephen Felton, Robert Blumenthal Gallery, New York, US

2015Dust: The plates of the present, BAXTER ST, New York, US / Saturn Drive, curated by R. Regnery, L40 - Kunstverein am Rosa-Luxem-burg-Platz, Berlin, DE / About Sculpture #6: Floating In A Constant Heaven, Lady Fitness - contemporary art space, Berlin, DE

2014The future belongs to ghosts, White Projects, Paris, FR

2013Abstract Troubles on 27th street and 11th avenue, Do Not Open, Brussels, BE / Viet Cong, KLEMM‘S, Berlin. DE (s) / Gestohlene Ge-sten, Kunsthalle Nürnberg, DE / Harold Ancart, Kristin Baker, Mark Barrow, Nina Beier, Anna Betbeze, Thilo Heinzmann, John Hender-son, Mark Flood, Scott lyall, Jayson Musson, Renaud Regnery, Pae White, Galerie Emannuel Perrotin, Paris / Collection n°2, interiors

and collectors, Lyon, FR

2012Dot.Systems. From Pointilism to Pixelation, Wilhelm Hack Museum, Ludwigshafen; DE / Renaud Regnery, Ricou Gallery, Brussels, BE (s) / Kitchen Talk, KLEMM‘S, Berlin, DE / New Deal, Elizabeth Dee, New York, US (s)

2011News from Nowhere, REH Kunst, Berlin, DE / 5th Prague Biennial / Pages Jaunes, Clockwork Gallery, Berlin, DE / Attachment, w. A. meschtschanow, Chez Valentin, Paris, FR / Ritournelle, KLEMM‘S, Berlin, DE (s) / Renaud Regnery, Zero Fold, Cologne, DE (s)

2010Wallpaper paintings, Ricou Gallery, Brussels, BE (s) / The Sky‘s Gone Out, Kwadrat, Berlin, DE (s) / Art by Telephone, Paris, FR / Fred Rapid Glassworks II, Autocenter, Berlin, DE / Ins Blickfeld gerückt, Französiches Institut, Berlin, DE

2009French Embassy, Berlin, DE (s) / Want, Gallery Arratia Beer, Berlin, DE / Bis ans Ende der Nacht, Forgotten Bar Project, Berlin, DE / Schickeria, Kunsthaus Braunschweig, DE / Bank of Eden, Whitecha-pel, Berlin, DE / The Sequel (Part II ), Cinque Garzoni, Venice, IT / Minton‘s Playhouse, Artnews Projects, Berlin, DE

2008La fortune et l‘humeur gouvernent le monde, Le Printemps de Sep- tembre, Toulouse, FR / Art Athina, GR / Focus New York-Berlin, Gallery Air Garten, Berlin, DE

2007Das Büfett, SOX , Berlin, DE / Die geheime Welt des Kasimir, Gal-leryAir Garten, Berlin, DE / Letzte Bilder Schwarz, Centre Culturel Français, Freiburg, DE